ABSTRACT

The considerations presented in this abstract have been originated on the fringes of different opinions during a restoration work, between the choice of a heretical analogical reconstruction, the one carried out, and a hypothetical leaving in ruins of a lambris of fake marble discovered in the family chapel of the Carafa shooting lodge( casino )in Maddaloni (CE). The chapel, dating back to the last decade of the seventeenth century, presented multi-material decorations. The lambris detected after the removal of an oil enamel added in the twentieth century, survived in such a fragmentary condition that was not allowed any formal decoding. It was an incongruous element in the economy of the whole vision and was in strong contrast with the well preserved floor. Which methodology would have been the best in order to reach a balanced result in the restitution of the sacred environment? It is necessary to consider that, at the end of the restoration work, the surfaces of all the other finishings, the white phytomorphic stuccos of the vault, the light pink coral painting of the walls, the wooden golden choir, the marble altars, had all reached a material aspect of satisfying recovery. The following article describe the conflict between the methodologies the restorer can have at his disposal and the Italian prejudice to the analogical restoration even in the case of reproducible decorative patterns. It aims at explaining the reasons to set up an analogical reconstructive repair still strongly philological to consider the lambris as an indispensable element to pass down a correct image of the Maddaloni chapel.

Parole chiave/Key-words: lambris, fake marble, recostruction, meaning, context